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Erste Russische Kunstausstellung Berlin 1922 – The Artists

Our survey identifies and allocates the 160 participating artists through their many exhibitions from 1900 up to the present on artist-info.com and provides like this new insight and overview to prove the importance of this exhibition not only for the well-known artists. As a result of our research we could identify other artists who participated but are not listed in the catalog.

Visualizing the participation in exhibitions since 1930 of the Thomas Walther Collection artists:
The photographic works of the 147 artists reunited in the MoMA exhibition in December 2014 were shown in many exhibitions of galleries, museums, and non-profit venues in many countries since the 1930’s. Some artists were shown more often than others, some together, some individually. Based on thousands of exhibition records this artist-info ‘Visualizing Art

Two important additional facts on the invited artists
artist-info added these group exhibitions in December 2015 to its database and was looking closer to who was participating as artist at the important ‘Mythologies quotidiennes’ of July 1964.
Our research did focus on two important issues of information on artists, missing in the 2008 retrospective description.
First Issue: The number of participating artists wasn’t 34 but 36.
Second Issue: As a custom w

The NZZ-Neue Züricher Zeitung published November 13, 2017 an article written by Robin Schwarzenbach: ‘Deutsche Kultur als Waffe’ [German Culture Used as Weapon].
The article describes how during World War I newspapers, cinema and theater programs, and art-exhibitions in Switzerland were used by France and by Germany for propaganda.
In contrary to NZZ’s findings French and German art-exhibitions in Switzerland were used as weapon of peace, not of war!

The artists of the Kurt Kirchbach and Thomas Walther Collection – Avan

This survey uses artist-info‘s exhibition documentation of the artists and exhibition venues to juxtapose the Kurt Kirchbach Sammlung and the Thomas Walther Collection. It looks at the complete list of shown artists in many thousand exhibitions with the help of artist-info database and provides like this a new, so far impossible insight. Did the artists become part of the two collections because they were meant to be important, influential, experimental,

How are artists and exhibition places and curators connected among each other?
The world of contemporary fine art might have many random aspects, but on an upper level the bits and pieces summarize to network structures and clusters.
It is the first time ever a network graph is used to analyse and describe the world of contemporary art with artists, curators, and exhibition places.
The Visualization identifies, helps to explore, and to develop the valuabl

An Exhbition Venues profile and mission is based on its exhibition history. It is an important source for the public. Documenting your exhibition history with artist-info.com supports both sides: Your individual profile as a gallery, museum, non-profit venue or collector’s venue and for the public your unique position among all others.
How about paying more attention to this important asset and getting the most out of it?
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The exhibition ‘Objects on the New Landscape Demanding of the Eye’, March 15 – April 11, 1957
was the inaugural group show at the famous Ferus Gallery, directed by curator Walter Hopps, and the artist Edward Kienholz.
Which artists were shown between 1957 – 1966, the years the gallery was active?
How was the gallery and the artists connected with other venues of the time?
Ferus Gallery was important in many aspects.

The artist-info selection below is not based on any ‘blockbuster’ criteria. It is our research on exhibitions since 1930 with the eye of an art historian and a historian which adds exhibitions to this constantly updated list.
Our List below starts 1929 with the first exhibition of the Museum of Modern Art – MoMA, New York, Nov 7, 1929: Cézanne, Gauguin, Seurat, Van Gogh. It enjoyed an unexpected high number of visitors – despite ‘Black Tuesday’ at Wall St

The influential book 'Nach-Expressionismus. Magischer Realismus. Probleme der neuesten Europäischen Malerei' by Franz Roh, published in autumn 1925, includes 2 lists of alltogether 110 artists.
Our survey compares the list of artists in Franz Roh's book with the exhibited artists by Gustav Friedrich Hartlaub in Mannheim in 1925, the exhbitions in Jena 1926, Berlin 1927, and Amsterdam 1929, and further the artists in the exhibition 'Neue Sachlichkeit', Haus

The text about the artist G.M. (Georg Meyer?) in the catalog raisonné states that Katherine Sophie Dreier bought seven watercolors of this artist in Bremen in 1930 from the ‘Galerie Moderne Kunst’. It is a correction of her notice in the 1950 catalogue, where Galerie Linne, Bremen, is mentioned as source.
The artist G.M. (Georg Meyer?) is Gerd Meyer, born in Oldenburg on November 28, 1894. He became citizen of Bremen June 11, 1920. He died in Delmenhorst

Reality Check – Comparing the artist’s auction performance with exhibition history statistics. As there are so many exhibitions in galleries, museums, nonprofit and collector venues worldwide we at artist-info were interested in comparing these rich and manifold activities with the artprice Top 500 list.
This is the first time that an auction result report for contemporary art artists is compared with the reality of the contemporary art world, using

Curating an exhibition is one of many ways for an artist to collaborate with other artists. Damien Hirst‘s (* 1965) groundbreaking and controversial work has made him one of the world’s best-known living artists – not to forget his success as curator.
‘Freeze’ – July 1988: During his time at Goldsmiths College of Art he organized in July 1988 in an empty London Port Authority building at Surrey Docks in London Docklands his first exhibition, entitled ‘Fre

Many essays have been written about Lincoln Kirstein, John Walker III, and Edward M. M. Warburg and their exhibition venue at 1400 Massachusetts Avenue, Cambridge. To know the exhibition timeline and the shown artists is important for each survey on the Harvard Society for Contemporary Art and is subject of this blog post as part of artist-info‘s focus on documenting exhibitions from 1880 up to the present, worldwide.

The first Bauhaus retrospective in December 1930 in Cambridge (MA) was organized to defend the historical role, and its essential meaning for future development.
The retrospective exhibition took place from early December 1930 until January 13, 1931 at the artist-info.com Blog post Harvard Society for Contemporary Art, entitled ‘Bauhaus: 1919-1923 Weimar / 1924 Dessau’.
So far the exhibition ’82 | The Bauhaus 1919–1928?, at the MoMA (07.12.1938-30.01.1939)